Annalù

Annalù (Annaluigia Boeretto, Italian, b. 1976) makes sculpture at the point where material identities become uncertain. A resin splash appears to remain liquid; paper seems caught in a current; glass butterflies break away from a central disc; roots and branches imply wind, growth or collapse. Her works are precisely engineered, yet they preserve the sensation of an event that has not finished. Rather than copying nature, she reconstructs forces such as flow, pressure, flight and transformation, using them to create imaginary architectures.

Born in San Donà di Piave in the Venetian region, Annalù trained at the Academy of Fine Arts in Venice, graduating in 1999. She lives in a stilt house on the right bank of the Piave River in Passarella di San Donà di Piave and works from a studio in Jesolo. The river, the lagoon and the shifting boundary between land and water inform a practice in which matter appears temporary, reflective and continually reorganized. Early works involving books, aquatic forms and liquid structures already asked how a solid object might retain the memory of movement.

Her process brings together materials from different technical worlds. Resin-based composites, often described by the artist as resinglass, may be combined with Murano glass, paper, ink, ash, bark, roots, sand, metal, bronze, cement or bitumen. Resin can bind fragile fragments, extend a form beyond its apparent edge or preserve an explosive gesture before it falls. Paper and ash create clouded, vulnerable passages, while glass concentrates light and color. Apparent delicacy depends on hidden reinforcement and exact construction, giving the sculpture a physical authority that balances its dreamlike surface.

The Dreamcatchers are Annalù's most recognizable sculptures. These circular wall works often begin with a central disc of Murano glass and expand through spirals of butterflies, ginkgo leaves, paper, resin and ink. Some include gold or silver leaf, murrine or ash. Their geometry can suggest a mandala, vortex, flower or field of particles held in outward motion. The circle provides order, but the edges appear to fragment and escape. Changes in scale, density, color and reflected light make each Dreamcatcher a distinct environment rather than a repeated emblem.

Beyond this signature series, Annalù has developed a broad vocabulary of freestanding and wall sculpture. Kengai and Fukinagashi works combine roots, paper, ink and translucent resin so trees appear bent by invisible weather or released from gravity. Waterbooks and Sagitta transform pages, metal supports and resin into rising or dissolving structures, while Flying Feet carries bodily movement into bronze. Other liquidity works allow vessels and organic forms to break into streams or splashes. Across these families, matter appears most revealing while crossing from one condition into another.

The artist has also extended her language into the D-Collection, a group of limited and exclusive works conceived in dialogue with design and interior architecture. Shankha and VAS place resin and Murano crystal discs within adjustable iron structures. Mirrors, light discs, lenticular images, backlit prints and tactile wall pieces activate illumination, reflection, changing perspective and touch. The 2026 Dreamcatcher Spiral mirror combines sandblasted mirrored glass with hundreds of hand-painted glass butterflies. These projects test how Annalù's visual structures behave when light, space and the moving viewer become active materials.

Annalù's international career includes exhibitions and projects across Europe, Asia and the United States. She participated in a project connected to the Venice Biennale in 2001 and in an initiative promoted by the Italian Pavilion during the 54th Venice Biennale in 2011. Her distinctions include awards from Arte Laguna, the Stonefly Prize for Contemporary Art, Premio Ora, Premio Opera Le Vie dell'Acqua and the Zaha Hadid Prize at the 2016 Salerno Biennale. Recent presentations include Blooming at Ode to Art in Singapore in 2024 and Dreamcatchers: Suspended Metamorphoses, organized by Galleria Ravagnan with the SAVE Group at Venice Marco Polo Airport. Opened in October 2025 and extended through November 3, 2026, the exhibition places large Dreamcatchers within a site defined by transit, departure and return.

Markowicz Fine Art represents Annalù and has presented her work through a sustained program in the United States. This history includes a Dallas solo presentation in 2020, Encompass with Lyès in 2021, Summer Collection in 2022 and appearances at the LA Art Show in subsequent years. The gallery's selection brings together major Dreamcatchers, freestanding sculptures, bronze works and illuminated or tactile editions. Across these different forms, Annalù gives temporary forces a durable body while preserving their sense of movement and possibility.